Scan 48
Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 5, 1910
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1Foreign Review two anonymous articles entitled The English Cathedral Service, its Glory, its Decline, and its designed Extinction, a production evoked by some then pending legislation connected with the cathedral institutions, which attracted great attention and in 1845 was reprinted in a separate form. He was one of the originators of the Vocal Society (of which he was the secretary), of the Musical Antiquarian Society (for which he edited Purcell's 'King Arthur'), and of the Purcell Club. [See Musical Antiquarian Society, Purcell Club, and Vocal Society.] Besides the before-named works he wrote and adapted with great skill English words to Mozart's 'Requiem,' Graun's 'Tod Jesu,' Schneider's 'Sündfluth,' Spohr's 'Vater Unser,' Haydn's 'Jahreszeiten,' and a very large number of compositions introduced in his lectures. He was [in 1829–43] musical critic to The Spectator. He died at Brentwood, March 12, 1863, and was buried in the old dissenting burial-ground in King's Road, Brentwood. His valuable library was dispersed by auction in the following December. w. h. h.; with additions from the Dict. of Nat. Biog.
3TAYLOR, FRANKLIN, a well-known pianoforte-player and teacher in London, born at Birmingham, Feb. 5, 1843, began music at a very early age; learned the pianoforte under Chas. Flavell, and the organ under T. Bedsmore, organist of Lichfield Cathedral, where at the age of thirteen he was able to take the service. [Returning to Birmingham soon afterwards, he appeared as a pianist and composer, and was appointed organist of the Old Meeting-house.] In 1859 he went to Leipzig and studied in the Conservatorium together with Sullivan, J. F. Barnett, etc., under Plaidy and Moscheles for pianoforte, and Hauptmann, Richter, and Papperitz for theory. He left in 1861, and made some stay in Paris, where he had lessons from Mme. Schumann, and was in close intercourse with Heller, Schulhoff, Mme. Viardot, etc. In 1862 he returned to England, settled permanently in London, and began teaching, and playing at the Crystal Palace (Feb. 18, 1865, etc.), the Monday Popular Concerts (Jan. 15, 1866, etc.), as well as at the Liverpool Philharmonic, Birmingham Chamber Concerts and elsewhere. At the same time he was organist successively of St. Peter's, Charlotte Street, Buckingham Gate, Twickenham Parish Church, and St. Michael's, Chester Square. In 1876 he joined the National Training School as teacher, and in 1882 the Royal College of Music as Professor of the Pianoforte. He was President of the Academy for the higher development of pianoforte-playing [from its foundation by Mr. Oscar Beringer in 1873 until its dissolution in 1897].
5His Primer of the Pianoforte (Macmillan, 1879) — emphatically a 'little book on a great subject,' and a most useful and practical book too — has been translated into German. He has also compiled a PF. tutor (Enoch), and a valuable series of Progressive Studies (Novello). He has translated Richter's treatises on Harmony, Counterpoint, and Canon and Fugue (Cramer & Co.); and arranged Sullivan's Tempest music for four hands on its production. With all his gifts as a player it is probably as a teacher that his reputation will live. His attention to his pupils is unremitting, and his power of imparting tone, touch, and execution to them remarkable. Gifted with a fine musical organisation himself, he evokes the intelligence of his pupils, and succeeds in making them musicians as well as mere fine technical performers. g.; additions from Mus. Times, 1899, p. 798, et seq.
7TAYLOR, SAMUEL COLERIDGE-, born in London, August 15, 1875, is the son of a doctor of medicine, a native of Sierra Leone, and an English mother. He learnt the violin with J. Beckwith of Croydon, and entered the choir of St. George's, Croydon, at the age of ten, becoming alto singer, after the breaking of his boy's voice, at St. Mary Magdalene's, Croydon. In 1890 he entered the Royal College of Music as a student of the violin; he studied composition with Stanford, and gained a composition scholarship in 1893. From that time his name has been prominently before the public, at first by the performance of early chamber compositions at the Royal College student's concerts, such as a nonet and a symphony, the latter given in James's Hall, in 1896, under Stanford's direction. A quintet for clarinet and strings in F sharp minor (played at the Royal College in 1895) was given in Berlin by the Joachim Quartet, and a string quartet in D minor dates from 1896. His crowning achievement as a student was the first part of his 'Hiawatha' trilogy, 'Hiawatha's Wedding-Feast' (Nov. 11, 1898, at the Royal College). The second part of the trilogy, 'The Death of Minnehaha,' was brought out at the North Staffordshire Festival in the autumn of 1899, and the third, 'Hiawatha's Departure,' by the Royal Choral Society, at the Albert Hall, March 22, 1900. In the following May, the overture to the whole was heard for the first time. The work, especially its first portion, made a great and lasting success, such as has yet been rivalled by no other composition from Mr. Coleridge-Taylor's pen. Festival commissions were a matter of course after it, and each work has been received with favour, although neither 'The Blind Girl of Castél-Cuillé' (Leeds, 1901), 'Meg Blane,' (Sheffield, 1902), 'The Atonement' (Hereford, 1903), nor 'Kubla Khan' (Handel Society, 1906) made as deep an impression as 'Hiawatha' had done while the composer was yet a student. An important side of his work has been the incidental music written for various romantic plays produced at His Majesty's Theatre. The
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